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The Italian book
I promised some pictures from the Italian workbook, didn't I? Well I have very little time to post because I have to go off and do more Italian from the book tonight. :D But here's three. We get to focus on Mark Cardelli today, because of his snazzy sweater-vest. The six-legged dog and the lecherous vampire (I am not kidding. About either) will have to wait for another day.
The question of the day is: Mark Cardelli. Metrosexual or gay?
Here are the players in the little drama. The room is a seething mass of drama and desire, as you can tell. Oh, you think I'm kidding about that, huh?
A simple scene, is it not? Our main protagonist, Dina, is the young woman with long black hair and hoop earring in the front. Next to her is Paul, and in from of them the professor, Maria Giuisti, is gesturing toward Mark Cardelli as she introduces him. Innocent, right? Look more closely.
There's nothing out of order with Dina, but you will note that Paul has his eyes fixed firmly on la professoressa Giusti's boobs, and his left hand is nowhere to be seen. He's not even bothering to take notes, you'll notice. If you look to the right, just on the other side of the professor, yu see an unnamed young lady, turned full-body towards Paul, staring at him with melancholy longing. Track back to the couple sitting next to Mark. You know them. They're the lovebirds who have the perfect relationship, who came to do their year abroad together and will never be seen more than eighteen inches apart.
Now go back to Dina. Follow behind her until you see the other young lady. She's staring fixedly ... at Dina. I like to think I detect a note of sweet hope in her eyes. She's got competition though, if you look behind her. There's a slightly skeezy fellow who's leaned to the side just to get a good look at the back of Dina's head.
We're going to ignore the zombies sitting next to and in front of the girl with the crush on Dina. Go back to the skeezy guy, and see his neighbor. She seems to have her eye out for Mark. Mark of the argyle sweater-vest. I think maybe she hopes in vain, because I've got a sneaking suspicion that Mark is gay. It's not just the sweater-vest, although, I have to say that it is indeed mostly the sweater-vest.
Here we have scene 2: Dina in the foreground introducing Paul to a friend of hers, Mirella. If you read the relevant section of the dialogue, you can see that Mirella's not too impressed with Paul:
Dina: Ti presento Mirella.
Paul: Ciao, Mirella! Di dove sei?
Mirella: Sono di qui.
Dina introduces Mirella to Paul, who starts right in with the interrogation: Hi, Mirella! Where are you from? Mirella quashes him with a flat "From here." Dina, however, is alert to her friend's tone and rushes Paul right off:
Dina: Dove vai, Paul?
Paul: In centro!
Dina: Arrivederci!
Mirella: Ciao!
Paul: Ci vediamo!
Dina changes the subject with a deft "Where are you going, Paul?" WHen he enthusiastically answers "Downtown!" she immediately leaps in with a "Good-bye!" before he can add something like "But it's not important!" And Mirella rushes him on with her "Bye!" and Paul is left with nothing to say but "See you!"
And now we turn our attention to what's going on in the background. Mark has just met the prefessor's assistant, la signora Martini. THey exchange pleasantries and then move on. Mark's looking mighty dapper in that aryle sweater-vest, isn't he? His hair is neatly cut and groomed, unlike Paul's mop, his pants fall and break perfectly at his shoes, and he's carrying an overcoat of some sort. He's really working that Ward Cleaver look, isn't he? Hmmmmm.
And now our third and final image of the evening:
Later that evening, Mark and Dina are taking a short rest in the piazza.
Mark: Dina, dove vai?
DIna: Vado a dormire.
Mark: Perché?
Dina: Perché ho sonno.
Mark asks Dina where she's going, and upon hearing that she's going to bed (Dina? Are we trying to subtly seduce Mark? It's not going to work), asks, incredulously, "Why?" Adn she is forced to explain that she's sleepy because Mark is not picking up on the subtle hint. (Paul, however, would be on it like a shot. You know he would.)
Mark is obviously gearing up for a night on the town. He's exchanged the argyle for his sold-color evening sweater-vest, restyled his hair to pouf up a little bit, and is carefully sitting so as not to crease his pants. I think he's on the prowl, and he's brought the book along to signal that he prefers a partner who likes the intellectual sort. The only thing missing is horn-rim glasses.
Dina, girl, I'm sorry. He's just not that into you. See how stiff he is? And how he's protectively clasping teh book in front of him, and is leaning slightly away? He didn't miss that hint, hon. He's just gone into defensive mode, with the babble about why you're going to bed. It continues:
Mark: Sei stanca?
Dina: Si, sono molto stanca. E domani ho un appuntamento.
Mark: Con chi?
Dina: Con un'amica. Buananotte!
Mark: Buananotte!
Mark is determined to continue along this line, asking if she's tired. Dina is fairly perceptive, as we learned from teh Paul/Mirella debacle, and decides to invent an appointment so as not to sound desperate. Mark presses relentlessly onward (Mark, I think you're enjoying watching her dig her hole deeper. YOu know she can't go out now, in case she runs into you): "With who?" Dina then resorts to the generic "A (female) friend." and ends the encounter with a firm "Good night!" Mark calls after her "Good night!" And yes, Mark is thinking, yes it certainly will be a good night if I have any say in the matter.
ETA: Mark might actually already have a date - you'll note that in teh first picture, the guy to the right of the professor's bun is looking back over his shoulder at Mark, who does seem a bit distracted and surprised to be singled out by the professor. I think maybe Mark's meeting him in the piazza, and knew he was going to be a bit early, so brought a book.
The question of the day is: Mark Cardelli. Metrosexual or gay?
Here are the players in the little drama. The room is a seething mass of drama and desire, as you can tell. Oh, you think I'm kidding about that, huh?
A simple scene, is it not? Our main protagonist, Dina, is the young woman with long black hair and hoop earring in the front. Next to her is Paul, and in from of them the professor, Maria Giuisti, is gesturing toward Mark Cardelli as she introduces him. Innocent, right? Look more closely.
There's nothing out of order with Dina, but you will note that Paul has his eyes fixed firmly on la professoressa Giusti's boobs, and his left hand is nowhere to be seen. He's not even bothering to take notes, you'll notice. If you look to the right, just on the other side of the professor, yu see an unnamed young lady, turned full-body towards Paul, staring at him with melancholy longing. Track back to the couple sitting next to Mark. You know them. They're the lovebirds who have the perfect relationship, who came to do their year abroad together and will never be seen more than eighteen inches apart.
Now go back to Dina. Follow behind her until you see the other young lady. She's staring fixedly ... at Dina. I like to think I detect a note of sweet hope in her eyes. She's got competition though, if you look behind her. There's a slightly skeezy fellow who's leaned to the side just to get a good look at the back of Dina's head.
We're going to ignore the zombies sitting next to and in front of the girl with the crush on Dina. Go back to the skeezy guy, and see his neighbor. She seems to have her eye out for Mark. Mark of the argyle sweater-vest. I think maybe she hopes in vain, because I've got a sneaking suspicion that Mark is gay. It's not just the sweater-vest, although, I have to say that it is indeed mostly the sweater-vest.
Here we have scene 2: Dina in the foreground introducing Paul to a friend of hers, Mirella. If you read the relevant section of the dialogue, you can see that Mirella's not too impressed with Paul:
Dina: Ti presento Mirella.
Paul: Ciao, Mirella! Di dove sei?
Mirella: Sono di qui.
Dina introduces Mirella to Paul, who starts right in with the interrogation: Hi, Mirella! Where are you from? Mirella quashes him with a flat "From here." Dina, however, is alert to her friend's tone and rushes Paul right off:
Dina: Dove vai, Paul?
Paul: In centro!
Dina: Arrivederci!
Mirella: Ciao!
Paul: Ci vediamo!
Dina changes the subject with a deft "Where are you going, Paul?" WHen he enthusiastically answers "Downtown!" she immediately leaps in with a "Good-bye!" before he can add something like "But it's not important!" And Mirella rushes him on with her "Bye!" and Paul is left with nothing to say but "See you!"
And now we turn our attention to what's going on in the background. Mark has just met the prefessor's assistant, la signora Martini. THey exchange pleasantries and then move on. Mark's looking mighty dapper in that aryle sweater-vest, isn't he? His hair is neatly cut and groomed, unlike Paul's mop, his pants fall and break perfectly at his shoes, and he's carrying an overcoat of some sort. He's really working that Ward Cleaver look, isn't he? Hmmmmm.
And now our third and final image of the evening:
Later that evening, Mark and Dina are taking a short rest in the piazza.
Mark: Dina, dove vai?
DIna: Vado a dormire.
Mark: Perché?
Dina: Perché ho sonno.
Mark asks Dina where she's going, and upon hearing that she's going to bed (Dina? Are we trying to subtly seduce Mark? It's not going to work), asks, incredulously, "Why?" Adn she is forced to explain that she's sleepy because Mark is not picking up on the subtle hint. (Paul, however, would be on it like a shot. You know he would.)
Mark is obviously gearing up for a night on the town. He's exchanged the argyle for his sold-color evening sweater-vest, restyled his hair to pouf up a little bit, and is carefully sitting so as not to crease his pants. I think he's on the prowl, and he's brought the book along to signal that he prefers a partner who likes the intellectual sort. The only thing missing is horn-rim glasses.
Dina, girl, I'm sorry. He's just not that into you. See how stiff he is? And how he's protectively clasping teh book in front of him, and is leaning slightly away? He didn't miss that hint, hon. He's just gone into defensive mode, with the babble about why you're going to bed. It continues:
Mark: Sei stanca?
Dina: Si, sono molto stanca. E domani ho un appuntamento.
Mark: Con chi?
Dina: Con un'amica. Buananotte!
Mark: Buananotte!
Mark is determined to continue along this line, asking if she's tired. Dina is fairly perceptive, as we learned from teh Paul/Mirella debacle, and decides to invent an appointment so as not to sound desperate. Mark presses relentlessly onward (Mark, I think you're enjoying watching her dig her hole deeper. YOu know she can't go out now, in case she runs into you): "With who?" Dina then resorts to the generic "A (female) friend." and ends the encounter with a firm "Good night!" Mark calls after her "Good night!" And yes, Mark is thinking, yes it certainly will be a good night if I have any say in the matter.
ETA: Mark might actually already have a date - you'll note that in teh first picture, the guy to the right of the professor's bun is looking back over his shoulder at Mark, who does seem a bit distracted and surprised to be singled out by the professor. I think maybe Mark's meeting him in the piazza, and knew he was going to be a bit early, so brought a book.